Slackk gets it in the best way on a 2nd EP of mongrel grime mutations for R&S.
On the Aviary EP he continues to push the envelope with innovative, uniquely colourful style and pattern; working with a broader range of temporal meters and incorporating a saltier lash of noise and lacquer-prickling distortion into his usually pristine, wipe-clean soundfields.
In subtle contrast to his previous form, there’s an animated depth of field to these six tracks, lending a bristling tension to the scissoring layers of Swan Filters and an oil-and-grit friction to the squirming, distorted synth gremlins barely shackled in Skeleton Crew.
The hybrid of stacked sino melodies and booming R&B drums punctuated with camera flashes and white noise in Hundred Flute makes a big highlight, and Returning Geese is quite possibly his sexiest jam to date, like a yung Vangelis wooing an orchid on the banks of the Thames, in view of Canary Wharf.
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Slackk gets it in the best way on a 2nd EP of mongrel grime mutations for R&S.
On the Aviary EP he continues to push the envelope with innovative, uniquely colourful style and pattern; working with a broader range of temporal meters and incorporating a saltier lash of noise and lacquer-prickling distortion into his usually pristine, wipe-clean soundfields.
In subtle contrast to his previous form, there’s an animated depth of field to these six tracks, lending a bristling tension to the scissoring layers of Swan Filters and an oil-and-grit friction to the squirming, distorted synth gremlins barely shackled in Skeleton Crew.
The hybrid of stacked sino melodies and booming R&B drums punctuated with camera flashes and white noise in Hundred Flute makes a big highlight, and Returning Geese is quite possibly his sexiest jam to date, like a yung Vangelis wooing an orchid on the banks of the Thames, in view of Canary Wharf.
Slackk gets it in the best way on a 2nd EP of mongrel grime mutations for R&S.
On the Aviary EP he continues to push the envelope with innovative, uniquely colourful style and pattern; working with a broader range of temporal meters and incorporating a saltier lash of noise and lacquer-prickling distortion into his usually pristine, wipe-clean soundfields.
In subtle contrast to his previous form, there’s an animated depth of field to these six tracks, lending a bristling tension to the scissoring layers of Swan Filters and an oil-and-grit friction to the squirming, distorted synth gremlins barely shackled in Skeleton Crew.
The hybrid of stacked sino melodies and booming R&B drums punctuated with camera flashes and white noise in Hundred Flute makes a big highlight, and Returning Geese is quite possibly his sexiest jam to date, like a yung Vangelis wooing an orchid on the banks of the Thames, in view of Canary Wharf.
Slackk gets it in the best way on a 2nd EP of mongrel grime mutations for R&S.
On the Aviary EP he continues to push the envelope with innovative, uniquely colourful style and pattern; working with a broader range of temporal meters and incorporating a saltier lash of noise and lacquer-prickling distortion into his usually pristine, wipe-clean soundfields.
In subtle contrast to his previous form, there’s an animated depth of field to these six tracks, lending a bristling tension to the scissoring layers of Swan Filters and an oil-and-grit friction to the squirming, distorted synth gremlins barely shackled in Skeleton Crew.
The hybrid of stacked sino melodies and booming R&B drums punctuated with camera flashes and white noise in Hundred Flute makes a big highlight, and Returning Geese is quite possibly his sexiest jam to date, like a yung Vangelis wooing an orchid on the banks of the Thames, in view of Canary Wharf.
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Slackk gets it in the best way on a 2nd EP of mongrel grime mutations for R&S.
On the Aviary EP he continues to push the envelope with innovative, uniquely colourful style and pattern; working with a broader range of temporal meters and incorporating a saltier lash of noise and lacquer-prickling distortion into his usually pristine, wipe-clean soundfields.
In subtle contrast to his previous form, there’s an animated depth of field to these six tracks, lending a bristling tension to the scissoring layers of Swan Filters and an oil-and-grit friction to the squirming, distorted synth gremlins barely shackled in Skeleton Crew.
The hybrid of stacked sino melodies and booming R&B drums punctuated with camera flashes and white noise in Hundred Flute makes a big highlight, and Returning Geese is quite possibly his sexiest jam to date, like a yung Vangelis wooing an orchid on the banks of the Thames, in view of Canary Wharf.